Literatura académica sobre el tema "Panthéon (Church : Paris, France)"

Since the pioneering works of Newton (1643–1727), mechanics has been constantly reinventing itself: reformulated in particular by Lagrange (1736–1813) then Hamilton (1805–1865), it now offers powerful conceptual and mathematical tools for the exploration of dynamical systems, essentially via the action-angle variables formulation and more generally through the theory of canonical transformations. We propose to the (graduate) reader an overview of these different formulations through the well-known example of Foucault’s pendulum, a device created by Foucault (1819–1868) and first installed in the Panthéon (Paris, France) in 1851 to display the Earth’s rotation. The apparent simplicity of Foucault’s pendulum is indeed an open door to the most contemporary ramifications of classical mechanics. We stress that adopting the formalism of action-angle variables is not necessary to understand the dynamics of Foucault’s pendulum. The latter is simply taken as well-known and simple dynamical system used to exemplify and illustrate modern concepts that are crucial in order to understand more complicated dynamical systems. The Foucault’s pendulum first installed in 2005 in the collegiate church of Sainte-Waudru (Mons, Belgium) will allow us to numerically estimate the different quantities introduced.

Jean Godefroy Bidima a fait ses études à L’Université de Yaoundé au Cameroun et à l’Université Paris I Panthéon-Sorbonne à Paris. Ses travaux de Doctorat à la Sorbonne ont porté sur l’Ecole de Francfort. Après avoir été Maître de Conférences invité (Gastdozent) à l’Université de Bayreuth, en Allemagne, et Directeur de programme au Collège International de Philosophie de Paris, il est actuellement Professeur Titulaire (Tenured Full Professor) à Tulane University (New Orleans) et détenteur de la Chaire Yvonne Arnoult. Il a publié : Théorie Critique et modernité négro-africaine : de l’École de Francfort à la « Docta Spes africana », Publications de la Sorbonne, 1993; La philosophie négro-africaine, Paris, Presses Universitaires de France, 1995; L’art négro-africain, Paris, Presses Universitaires de France, 1997; La palabre. Une juridiction de la parole, Paris, Editions Michalon, 1997, Traduction anglaise ; Law and Public Sphere in Africa : La Palabre and Other Writings, Indiana University Press, Bloomington, 1993.

ABSTRACTComposer Pascal Dusapin has crafted an intriguing and idiosyncratic musical style that is both expressive and rigorously formal. Born in 1955 in Nancy, France, he studied piano and organ in his youth and later Plastic Arts and Sciences, Arts, and Aesthetic at the University of Paris 1 Panthéon-Sorbonne, notably under composer Iannis Xenakis. From 1981 to 1983, he held a resident scholarship from the Villa Medici in Rome. Among the numerous accolades Dusapin has received are the Cino del Duca Prize in 2005 and the Dan David Prize in 2007. The Collège de France conferred upon him a professorship to hold the Chair of Artistic Creation from 2006 to 2007. He is a Commander of the French Order of Arts and Letters. His body of work includes extensive explorations of solo, chamber, orchestral, and operatic forces. What follows is an edited translation of an interview I made with Dusapin in his studio in Paris on 9 July 2016.

The façade of St. Roch, Paris (erected 1736-1738), the last major work by Robert de Cotte, is often viewed as anomalous in an oeuvre devoted almost exclusively to the design of secular buildings. However, the recent discovery in Paris of certain drawings and related documents from de Cotte's studio (Bibliothèque Nationale; Archives Nationales; Bibliothèque de l'Institut) makes it clear that he confronted the problem of the Italianate ecclesiastical façade throughout his career, although only a few of the commissions were actually carried out. The various solutions, while rooted in French tradition, betray a strong interest in Italian church portals of the Late Renaissance and Baroque. The notes and drawings made by the architect during his Italian sojourn of 1689-1690 confirm this interest. A chronological review of the projects reveals that the design for the St. Roch portal was closely related to de Cotte's earlier experiments for church façades in Paris, Dijon, and Orléans; the Premier Architecte relied particularly on precedents set by Jules Hardouin Mansart, as well as on his own unexecuted project for St. Louis de Versailles (1724).

Nick Underwood, Yiddish Paris: Staging Nation and Community in Interwar France, Bloomington: Indiana University Press, 2022. Elizabeth A. Foster, African Catholic: Decolonization and the Transformation of the Church, Cambridge: Harvard University Press, 2019. David Todd, A Velvet Empire: French Informal Imperialism in the Nineteenth Century, Princeton: Princeton University Press, 2021. Spencer D. Segalla, Empire and Catastrophe: Decolonization and Environmental Disaster in North Africa and Mediterranean France since 1954, Lincoln: University of Nebraska Press, 2021.

Letters from Hieromonk Athanasius (Nechaev) to his confessor and elder, Hieroschemamonk Ephraim (Khrobostov) are presented in the publication. They were written from Paris to Valaam in Finland, where at that time the Valaam Monastery was located. Hieromonk Athanasius - the future archimandrite and spiritual mentor of monasticism abroad, the superior of the Three Hierarchs metochion in Paris (1933-1943), dean of the parishes of the Moscow Patriarchate in France, the first spiritual mentor of the future Metropolitan Anthony of Sourozh (Bloom). His addressee was the fraternal confessor at the Valaam Monastery, and before the revolution, the confessor of Grand Duke Nikolai Nikolayevich (the younger) and his family, Hieroschemamonk Ephraim (Khrobostov), - is the respected and authoritative member of the spiritual governing body of the monastery. In the Smolensk skete on Valaam, he daily served a liturgy in memory of the Russian soldiers who died at the front for the faith, the Tsar and the Fatherland. The letters were written during the period of study of Father Athanasius at the St. Sergius Theological Institute in Paris and during his service in the monastery-orphanage "Unexpected Joy" in Livry-Gargan near Paris. They deal with many problems of the church life of the Russian diaspora in France and the Russian emigration in general as a phenomenon. Father Athanasius described the causes of jurisdictional disputes in exile, problems at the Theological Institute, conflicts between hierarchs, and more. He was something of a correspondent who kept the Valaam monastery authorities up to date on events. Describing in detail the essence of the disagreements, at some point he apparently got tired of them and plunged headlong into pastoral work, warmly describing the life of the emigrant communities he served. During the cross-over of Metropolitan Evlogy to the Patriarchate of Constantinople, Father Athanasius could not reconcile himself to the break with the Russian Church, and believed that it was better to return to Valaam. However, these plans were not destined to come true.

St. Gregory’s was a small college belonging to the English secular clergy founded at Paris in the late seventeenth century. Its main purpose was to enable suitable ecclesiastics who had completed their training at Douai or the other colleges abroad to pursue advanced studies at the Sorbonne before working on the mission in England. Its founders hoped it would serve to produce a corps of highly qualified men to fill the leading administrative and teaching posts in the Catholic Church in England. It survived until 1786 when financial difficulties forced it to close—temporarily, as was at first thought. During the Revolution it suffered the fate of the other English Catholic institutions in France, and it never, in fact, reopened. Among the documents that have survived from its archives is a Register Book covering the whole period of its existence from its first beginnings in 1667 until it closed down over a century later. This Register Book, which records the arrival and departure of students, the stages in their university career, their promotion to holy orders, deaths occurring at the college, and occasional memoranda of events affecting the life of the community, was edited for the Catholic Record Society in 1917 by the late Monsignor Edwin Burton.

The life of Philip the cleric, younger brother of Louis VII of France, is meagerly documented. Philip died young, without having attained high rank in the church — indeed, having refused election to the see of Paris. The documents concerning him are unevenly distributed. The greatest concentration of them is the record of his attestation as a child or youth to charters emanating from the bishop or from the cathedral chapter of Paris, where he had been placed for education as a canon. From his youth or adulthood, there are several references, chiefly in letters, to disputes in which he was involved. He is mentioned in few of the extant acts of Louis VII and almost never in the narrative sources. Only three of his charters and a single reference to a lost act have previously been known.

ABSTRACT: As Smith freed moral philosophy from former control bodies (the Church, the state), the Scottish philosopher opened the field for a scientific political economy. In hisAdam Smith. Philosophie et économie(Paris, Presses universitaires de France, 1990, p. 45), Jean Mathiot asked :«Should then one wonder that his [Smith’s] audacious stand became the historical grounding stone for political economy, then bringing recognition as an objectively-grounded field of knowledge?»Mathiot’s text and thought have been little debated to this day; this essay is meant to fill that gap, in particular with regard to the history of Smith’s reception in France. Mathiot sought to understand better the “impartial spectator” using a new character whom he claimed Smith was implicitly sketching, and whom he called “the impartial laborer”. To Mathiot’s mind, from theTheory of moral sentiments(1759) to theWealth of Nations(1776), the link is nothing else than Smith’s own philosophy.

La fondation du Panthéon par l'assemblée constituante en avril 1791, s'inscrit dans le temps long du culte des grands hommes au XVIIIe siècle. Le petit genre laïc et commémoratif de l'éloge académique avait alors supplanté l'ancienne oraison funèbre. L'évènement majeur sur ce point se produisit en 1758 lorsque l'Académie proposa l'éloge des grands hommes de la nation comme sujet du concours d'éloquence. Ainsi se constitua une mémoire civique illustrée dans les différents arts. Ce contexte changea radicalement l'expérience littéraire. Les grands écrivains (Diderot, Rousseau, Voltaire) furent contraints d'avoir une image publique, d'être à part égale vus et lus. . . L'institution du Panthéon sous la Révolution consacra de grands fétiches en transposant l'imaginaire savant des grands hommes dans une culture populaire, particulièrement le culte de Marat. Le Panthéon se révéla rapidement fragile et paradoxal car le temps révolutionnaire n'était aucunement accorde aux perspectives lointaines requises par le temple de mémoire. Pourtant le culte des grands hommes tel qu'il avait été réinventé par le XVIIIe siècle perdura et réapparut après thermidor. Puis Mme de Staël et Chateaubriand en entretinrent ensuite le flambeau contre Napoléon lui-même
The creation of the Pantheon in 1791 can be interpreted as the natural outcome of the celebration of great men, a literary and social practice which gathered momentum throughout the eighteenth century the formerly lesser genre of the academic eulogy, a truly lay kind of discourse, had by then superseded the funeral oration. A previous watershed was the year 1758, when the Academie proposed the eulogy of great men as the topic of its oratorical contest. This grave rises to a commemorative experience of the civic past which involved all the arts and developed its own visual representations. Eminent men of letters (Diderot, Rousseau, Voltaire) became the focus of public scrutiny, and the fact that they were both read and observed as individuals triggered radical changes in the public image of the writer. By the tue of the Pantheon, attention to great men was deflected from their learned psyche in favor of monumental fetish-like icons, with spectacular effects in the case of Marat. The Pantheon turned out to be a fragile and paradoxical institution, however, for in no way was the revolutionary time-experience attuned to the distant perspectives of the collective memory. And yet the cult of great men did not vanish with the Thermidor reaction, as the rehabilitation of men of letters and the Girondins testifies. Then Mme de Staël and Chateaubriand made this practice their own and even turned it against Napoleon in person

Cette thèse propose la première étude de la Revue de Paris depuis sa création en avril 1829 jusqu’à sa vente en mai 1834 et a pour but de définir l’identité de ce périodique littéraire.La première partie de cette thèse tente ainsi de replacer « La Revue de Paris en son temps ». Tout d’abord, dans une approche qui appartient au domaine de la sociologie de la littérature, l’auteur recrée le tissu social constitué par les hommes qui dirigent la Revue, par ceux qui lui permettent d’exister financièrement, et enfin par ceux qui y publient. Cette première approche sociologique fait apparaître la profonde diversité des collaborateurs : dès le début, la Revue de Paris s’affirme comme un « panthéon où son admis tous les cultes ». Cette métaphore, qui donne son sous-titre à cette thèse, est tirée du texte liminaire qui annonce la création de l’Album, en novembre 1829 et donne une indication de l’éclectisme qui préside au choix des auteurs dont les articles sont publiés. La lecture de la Revue sous un angle politique, qui constitue le deuxième chapitre de cette thèse, laisse apparaître un ancrage libéral de la Revue. La Revue participe à sa façon à la chute de Charles X. La Revue de Paris se situe au centre-droit. D’abord favorable au nouveau régime, la Revue se fait de plus en plus critique envers l’orléanisme, et le choix de Pichot d’abandonner la « Revue politique » ne fait que confirmer l’éloignement grandissant entre la Revue de Paris et le régime de Juillet.Enfin, cette première approche de l’identité de la Revue analyse sa place dans le champ de la presse littéraire entre 1829 et 1834. Au moment de sa création, la Revue est considérée par son créateur comme la version française des Reviews et Magazines britanniques. Entre 1829 et 1834, et contrairement à ce qu’affirme la longue tradition critique qui fait de la Revue des deux mondes la principale revue littéraire du début des années 1830, la Revue de Paris est le véritable modèle de l’époque.À la fin de cette première partie, les approches combinées de la sociologie littéraire, de la politique et de l’histoire de la presse amène l’auteur à donner une première définition de la Revue de Paris : elle est éclectique, mondaine, libérale et se situe tout en haut de la « pyramide » de la presse littéraire. Au cours de ses cinq années d’existence, elle a été le plus grand périodique littéraire français. Il s’agit alors, après avoir replacé la Revue en son temps, d’interroger le cœur même de la Revue, c’est-à-dire les articles qu’elle publie. Faisant le choix de traiter tout d’abord la création littéraire, l’auteur analyse les textes sous l’angle générique. La création littéraire de la Revue traite les grands thèmes de la littérature de 1830, et en ce sens la Revue est le miroir de son époque. Néanmoins, s’il n’y a pas à proprement parler de « littérature Revue de Paris », la Revue doit être considérée comme un creuset des genres littéraires. Concernant la nouvelle, elle trouve dans la Revue des réalisations dont la variété repose essentiellement sur l’hybridité. Parce qu’elle offre aux auteurs une grande liberté créative, la Revue se définit comme un panthéon où l’imagination se concrétise dans des formes narratives plurielles. Au contraire, la production dramatique est dominée par le genre du proverbe. Quant à la poésie, elle apparaît comme la partie littéraire la plus faible. Cet ensemble est dominé par des auteurs majeurs et mineurs du romantisme, à tel point que l’on peut considérer la Revue de Paris comme une revue romantique. Néanmoins, la partie critique oblige à nuancer cette analyse : la critique littéraire de la Revue de Paris laisse apparaître une critique parfois violente du romantisme. La condamnation morale de la littérature se fait de plus en plus insistante au fil des mois, LA revue romantique par excellence se révèle être le « panthéon où sont admis tous les cultes », qu’ils soient romantiques ou antiromantiques. En réalité, la Revue est le miroir de son époque
This dissertation proposes the first study of the Revue de Paris since its creation in April 1829 until its sale in May 1834 and aims to define the identity of this literary periodical.The first part of this thesis attempts to replace "The Revue de Paris in its time". First of all, in an approach that belongs to the field of sociology of literature, the author recreates the social fabric constituted by the men who lead the Journal, by those who allow it to exist financially, and finally by those who publish there. This first sociological approach shows the deep diversity of the collaborators: from the beginning, the Revue de Paris is affirmed as a "pantheon where are admitted all the cults". This metaphor, which gives its subtitle to this thesis, is taken from the introductory text that announces the creation of the Album, in November 1829 and gives an indication of the eclecticism that governs the choice of authors whose articles are published. The reading of the Review from a political angle, which constitutes the second chapter of this dissertation, reveals the liberalism of the Review. The Review participates in its own way to the fall of Charles X. The Revue de Paris is located in the center-right. Initially favorable to the new regime, the Review is becoming increasingly critical of Orleanism, and the choice of Pichot to abandon the "Political Review" only confirms the growing distance between the Revue de Paris and the July polity. Finally, this first approach to the identity of the Review analyzes its place in the field of the literary press between 1829 and 1834. At the time of its creation, the Review is considered by its creator as the French version of British Reviews and Magazines. Between 1829 and 1834, and contrary to what affirms the long critical tradition that makes the Revue des deux mondes the main literary review of the early 1830s, the Revue de Paris is the true model of the time. The combined approaches of literary sociology, politics and the history of the press lead the author to give a first definition of the Revue de Paris: it is eclectic, mundane, liberal and is at the top of the "pyramid" of the literary press. During its five years of existence, it was the largest French literary periodical. It is then, after having replaced the Review in its time, to question the very heart of the Review, that is to say the articles it publishes.Making the choice to treat literary creation first, the author analyzes texts from the generic point of view. The literary creation of the Revue deals with the great themes of the literature of 1830, and in this sense the Review is the mirror of its time. Nevertheless, if there is not, strictly speaking, a "Revue de Paris literature", the Review must be considered as a crucible of literary genres. Concerning the short story, it find in the Review of the achievements whose variety rests essentially on the hybridity. Beyond its simple entertaining function, the short story is a success mainly based on its plasticity, which allows it to be both exotic and historical, exotic and fanciful, historical and frantic ... Because it offers authors a great creative freedom, the Revue defines itself as a pantheon where the imagination is concretized in plural narrative forms. On the contrary, dramatic production is dominated by the genre of the proverb. As for poetry, it appears as the weakest literary part. This set is dominated by major and minor authors of Romanticism, so much so that one can consider the Revue de Paris as a romantic review. Nevertheless, the critical part makes it necessary to qualify this analysis: the literary criticism of the Revue de Paris reveals a sometimes violent critique of romanticism. The moral condemnation of literature is becoming increasingly insistent over the months, THE ultimate romantic review proves to be the "pantheon where are admitted all the cults", whether romantic or anti-romantic. In fact, the Review is the mirror of its time

Ce travail s'intéresse à l'usage socialement différencié que les étudiants font de leur passage à l'UFR de philosophie de Paris 1. Apres avoir décrit ces étudiants et leurs destinations professionnelles, j'ai étudié leur rapport à la culture, leurs options pédagogiques ainsi que leurs pratiques de recherche en maitrise. Ce dernier point m'a permis d'aborder concrètement la question des déterminants sociaux de la recherche philosophique. Celle-ci s'est révélée être fortement encadrée par les programmes d'enseignement et celui de l'agrégation. Mais des variables telles que le capital scolaire (passage par la khagne, une e. N. S. Etc. ), l'origine sociale et le sexe jouent aussi un role déterminant. J'ai ainsi pu mettre au jour la distribution des sujets de recherche qui à chaque type de sujet fait correspondre un profil d'étudiant "appelé" à le traiter. L'étude a ensuite été étendue aux étudiants de maitrise de la region parisienne, puis aux doctorants, ce qui a permis de confirmer, tout en la rectifiant selon le niveau d'étude, cette première distribution. Ce travail souligne le poids que l'enseignement secondaire, via l'agrégation et le système des classes préparatoires, fait peser sur l'enseignement philosophique universitaire français et ses activités de recherche
The subject of this work concerns socially differenciated uses made by paris 1 u. F. R. Philosophy students of their study. After describing these students and their professional destinations, i studied their relationship to culture, their pedagogical choices and their research practices in the master degree. The last element allowed me to treat in a concrete way the question of social determination in philosophy research. This is shown to be highly related to teaching programmes and specifically to the agregation exam. But variables such as scholarly capital (khagne, e. N. S etc. ), social origin, and gender, also play a determining role. I have thus been able to expose the relationship between the research subject treated and the student profil. The study was enlarged to encompass master students in the parisian area, and then doctoral students. This confirmed, taking account of the level of study, the afore-mentionned relationship. The conclusion emphasises the weight of secondary teaching, via the philosophy agregation and the system of preparatory classes, on french university philosophy teaching and its research activities

The parish churches of Paris rebuilt between 1489 and 1590 are defined as an important group late Gothic monuments. They were each modeled after the Cathedral of Notre-Dame and given many of the same characteristics. The architectural features used in the rebuilding of the parish churches are part of a well-defined architectural vocabulary of both classical and flamboyant forms. The building histories show that the stylistic qualities of these monuments are the result of the constant application and reception of prevailing architectural ideas. The architectural arrangements and iconographic programs reveal the role of patrons; the monarchs, in particular, used the rebuilding of the parish churches to help define their own image. In this respect, the ecclesiastic architecture of the sixteenth century is reminiscent of the Court Style of Louis IX.

Ce travail de recherche sur le décor sculpté religieux à Paris a eu pour ambition de reconstruire l'image d'un patrimoine en partie disparu : l'espace interne de l'église parisienne entre 1660 et 1760 à travers le mobilier liturgique, le décor en relief ou en ronde-bosse, dans la nef, le transept et le chœur des églises de la capitale du royaume. Notre étude analyse ainsi la sculpture religieuse dans son espace d'inscription immédiat, entre art monumental et art décoratif, de la fin des grandes commandes religieuses royales du XVIIe siècle, tel le Dôme des Invalides, à l'avènement du néo-classicisme dans le chœur de Saint-Germain-l'Auxerrois en 1760, avant la reprise des grands chantiers royaux, inaugurés par les travaux menées à la basilique Sainte-Geneviève. Même si une partie de ces décors a été démonté à la Révolution, il est possible d'appréhender précisément leur contenu, les éléments détruits étant analysés à partir de nombreuses sources iconographiques et écrites qui permettent de restituer l'œil du contemporain dans une église. Grâce à la découverte de nombreux contrats d'archives, il a été possible de déterminer les conditions et les facteurs matériels et religieux de la commande. L'étude des textes critiques, issus de la théorie artistique et religieuse contemporaine, pose le problème du luxe du décor religieux, ainsi que le problème de l'organisation de l'espace intérieur de l'église, et dont est largement tributaire l'évolution stylistique et formelle du décor. Cette thèse, combinant histoire de l'art, histoire du visuel, histoire économique et histoire religieuse, contribue ainsi à la connaissance d'un patrimoine artistique français méconnu
This work on the religious sculptured decoration in Paris had for ambition to built the image of a partially disappeared heritage : the space interns of the Parisian church between 1660 and 1760 through the liturgical furniture, the relief decoration or in round-bump, in the nave, the transept and the choir of the churches of the capital of the kingdom. Our study so analyzes the religious sculpture in its immediate space, between monumental art and decorative art, the end of the big royal religious orders of the XVIIth century, such the Dome des Invalides, in the advent of the neoclassicism in the choir of Saint-Germain-l'Auxerrois in 1760, before the resumption of the big royal construction works, inaugurated by the works in the basilica saint-Geneviève. Even if a part of these decorations was destroyed in the Revolution, it is possible to determinate exactly their contents : the destroyed elements are analyzed from numerous iconographic and written sources which allow to restore the eye of the contemporary in a church. Thanks to the discovery of contracts of archives, it was possible to determine the conditions and the material and religious factors of the order. The study of the critical texts, stemming from the contemporary artistic and religious theory, raises the problem of the luxury of the religious decoration, as well as the problem of the organization of the internal space of the church, and on which is widely dependent the stylistic and formal evolution of the decoration. This work combine art history, history of the picture, economic history and religious history to contributes to the knowledge of an underestimated French artistic heritage

Le fleuve Loire a généré un paysage essentiel en France, tant en terne d' occupation humaine, d'aspect, que de représentations et de place dans l'histoire même du concept de paysage. Il est aussi, comme la plupart des motifs naturels en Europe, l' objet de discours sur la séparation d'avec l'homme, ce qui pose en corrélation des problèmes de gestion, et simplement d'entretien. Quatre mouvements participant à la construction du paysage sont habituellement retenus dans les recherches: géographique, artistique (peinture et pour la Loire surtout littérature), touristique et politico-administratif. Ils sont explorés dans un premier temps à une échelle globale, qui met en évidence le jeu de deux grands modèles, fonctionnant comme deux pôles dans les discours: une Loire royale, à aménager, policée; et une Loire sauvage, à ménager, écologique. Le souci de rechercher la spatialité de ces modèles, afin de répondre géographiquement à la question des problèmes d'entretien, conduit à ré-envisager ces modèles en les confrontant d'une part à la réalité de l'occupation humaine le long du fleuve (démographie et occupation du sol), d'autre part aux discours et aux pratiques des riverains, des habitants, par rapport aux représentations dominantes des quatre mouvements précédents. On est ainsi passé à une échelle locale, qui offre finalement une autre approche du concept de paysage, par le bas, dont les résultats sont des représentations de nature différente/

La thèse porte sur l'étude du tombeau de Jean-Jacques Rousseau dans la crypte du Panthéon français. Le sujet du tombeau de Rousseau au Panthéon n'avait pas été exploité du point de vue de l'historiographie et nous n'avions pas encore conscience de l'importance que ce monument détient au sein de la théorie architecturale en concernant l'iconographie de la capanna magistra. L'enquête clarifie les motivations et les vicissitudes de la translation de l'Ile de Peupliers, où le corps du philosophe avait été enterré en 1778, au Panthéon des Grands hommes en 1794. Cet épisode s'inscrit dans le panorama des fêtes nationales des premières années de la République. Dans le cas de la cérémonie dédiée à Rousseau, grâce aux témoignages de l'époque, aux rapports officiels, aux reportages de presse et aux documents iconographiques, nous examinons les détails des étapes de l'itinéraire, des cortèges, des mises en scène villageoises et urbaines, des apparats éphémères. Etant constaté le manque de dessin originaire, cette étude avance, pour la première fois, des hypothèses argumentées sur les rôles d'Auguste Cheval de Saint-Hubert, de Jean-Thomas Thibault et sur la possible colonnes en forme d'arbres qui caractérisent le temple rustique, dont le tombeau prend l'apparence, évoquent les illustrations des traités d'architecture de la tradition italienne et française du XVe au XVIIIe siècle. Elles rappellent les premières demeures de l'homme qui vient juste de sortir de l'état de nature et la première révolution théorisée par Rousseau. Au modèle de la cabane originaire sont dédiées trois anthologies d'images et textes qui analysent ce concept à partir du De architectura de Vitruve jusqu'aux interprétations de la Renaissance et à leurs filiations françaises au siècle des Lumières. De l'examen systématique de ce recueil, nous mettons en évidence les points de contact mais aussi la distance entre architectes et philosophes, entre époques et contextes culturels différents
The thesis concerns the study of Jean-Jacques Rousseau's tombeau in the crypt of Pantheon in Paris, a subject still unexploited. The formal characteristics of the wooden monument, a small scale rustic temple, are observed and framed within the context of the iconographic tradition of the origins of architecture with te Vitruvian Hut as its archetype. The role played by architects Auguste Cheval de Saint-Hubert and Jean-Thomas Thibault in the conception of the tomb has been analysed, based on original documents uncovered in french archives and supported by a punctual analysis of many types of resources. The possible participation of Antoine-Chrysostome Quatremère de Quincy for the development of the concept of the monument is also included as part of the debate about the organisation, in octobre 1794, of the ceremony in honour of Rousseau. Morever, an architectural survey has been executed in the context of this work, in order to study the proportions of the monuments that strongly resembles a wooden rustic temple. This survey reveals several interesting connections with the Classical Order System (specifically the Tuscan Order) theorised upon within the literature. The tree-shaped wooden columns of the tombeau recall directly Vitruvius' description of the first human-built structure, so similar to the one Laugier tries to illustrate in the frontispiece of his treatise and very near to the primitive house after the first revolution theorised by Rousseau himself

Cette étude a pour but d’appréhender l’évolution de la sépulture ainsi que l’analyse des différents lieux d’inhumation et des populations enterrées à Paris entre le XIIIe et le XVe siècle à partir des inscriptions funéraires recensées dans le recueil de l’Epitaphier du vieux Paris. Les établissements religieux de la capitale se distinguent dans leur politique funéraire ainsi que dans leur façon de gérer l’accueil des sépultures laïques. Inexistantes jusqu’au XIIIe siècle, les inhumations ad ecclesiam se généralisent et s’installent de façon durable au cœur du lieu du culte. En conséquence de cette évolution significative des pratiques funéraires, de nouveaux groupes sociaux influents accèdent enfin à une sépulture de prestige. Les officiers royaux et gouvernementaux qui reposent désormais aux côtés des membres de la famille royale et des dignitaires ecclésiastiques sont à l’origine de l’expansion des chapelles funéraires familiales. Malgré son influence croissante dans la vie économique et politique de la capitale, la bourgeoisie rencontre encore des difficultés à s’imposer dans le domaine funéraire et reste souvent dans l’ombre des grands officiers royaux. Le lieu d’inhumation revêt une importance considérable pour l’ensemble des parisiens fortunés qui n’hésitent pas à faire preuve de générosité envers les communautés religieuses pour établir leurs sépultures à peu de distance de l’autel afin de bénéficier des messes et des prières destinées à assurer leur salut. En effet, comme le prouve l’analyse formelle des tombeaux et épitaphes parisiennes, le salut de l’âme du défunt est au cœur des représentations funéraires. Le tombeau doit solliciter les suffrages des vivants mais également transmettre le souvenir de l’existence terrestre et de l’importance sociale du défunt
This study aims at showing the evolution of sepulchres and at analysing different burial places and populations burried in Paris between the 13th and 15th century through the funerary inscriptions listed in the collection : the Épitaphier du vieux Paris. Religious establishments of the capital city can be identified through their funerary policies and through the treatment of their secular sepulchres. Non-existent until the 13th century, ad ecclesiam burials become more widespread and remain at the centre of places of worships. As a result of the significant evolution of funerary practices, new social groups of influence have access to presitigious sepulchres.Royal and governmental officers who now rest by the royal family and ecclesiasts sides originated the expansion of funerary chapels for families in churches of the capital city. Despite its increasing influence on the economic and political life of the capital city, the « bourgeoisie » still faces hardships in forcing itself on the funerary area and remains in the shadow of the so-called royal officers. The burial location is of a major importance for most wealthy Parisians who show their generosity towards religious communities so then their graves can be placed as close as possible from the altar and get masses and prayers that can guarantee their salvation. Indeed, as proven through the accurate analysis of tombs and epitaphs of Paris, salvation for the dead is at the core of funerary representations. Graves must appeal the living to pray but also share the memory of life on earth and reveal the social place of the deceased

Née d’une interrogation sur les dynamiques d’intégration républicaine des radicalités politiques, cette recherche au carrefour de la sociologie historique du politique, de l’histoire sociale des idées et de la sociologie politique des mémoires collectives,s’attache à expliquer les conditions dans lesquelles Louise Michel, une femme et une anarchiste du XIXe siècle, devient une figure éligible à la panthéonisation en 2013. L’analyse longitudinale de la carrière de la figure de Louise Michel interroge plus généralement les processus de canonisation, de circulation et de transmission qui caractérisent les dispositifs de célébration politique. A partir de l’étude monographique des multiples occurrences de lafigure de Louise Michel du dernier tiers du XIXe siècle au début du XXIe siècle (presse, discours, pratiques commémoratives, biographies ou encore manuels scolaires), ce travail montre comment une personnalité marquée par la marginalité politique devient une référence commune de la gauche. Les formes et les espaces de la célébration ne peuvent alors se comprendre qu’au regard des positions occupées par ses traducteurs et de la structure de l’espace politique et social dans lequel ils s’inscrivent. Le processus de reconnaissance institutionnelle de Louise Michel doit d’une part à la pacification d’une mémoire officielle de la Commune de Paris, et d’autre part à l’intégration de l’histoire des femmes au sein d’un féminisme d’Etat. Ce double mouvement explique l’élargissement de l’identification collective et individuelle dans la figure de Louise Michel. Il autorise l’hypothèse d’une entrée de Louise Michel au Panthéon républicain. Pourtant, cette thèse montre également que des mécanismes de résistance aux processus de reconnaissance institutionnelle demeurent. Loin d’un processus linéaire la construction de la figure Louise Michel fait l’objet d’appropriations multiples qui coexistent aujourd’hui. L’inscription d’une figure historique dans les mémoires collectives constitue dès lors un dispositif conflictuel, marqué par des conjonctures mouvantes qui met aux prises des acteurs à la croisée des espaces politiques, militants, universitaires et intellectuels
At the crossroads of political historical sociology, social history of ideas, and political sociology of collective memories, this research starts from an interrogation on the republican integration dynamics of political radicalism. Itfocuses on explaining the conditions in which Louise Michel, a 19th century woman and anarchist, has become an eligible icon for pantheonisation in 2013. The longitudinal analysis of Louise Michel's career broadly questions the processes of canonization, circulation and transmission which characterize the schemes of political celebration. Initiated by the monographic study of Louise Michel's numerous apparitions, from the last third of the 19th century to the early21st century (press, speeches, memorial events, biographies or textbooks), this essay highlights how a politically marginalized character turns into a leftist icon. It's only by apprehending the political posture and social background ofher interpreters that one can acknowledge the different areas and forms of commemoration. The process of institutional recognition of Louise Michel's legacy is made possible on the one hand by the pacification process of the officialremembrance of the Paris Commune, and on the other hand by the incorporation of Women History in state feminism. It explained the enlargement of both collective and individual identification to Louise Michel's figure. It also authorizedthe hypothesis of Louise Michel's entry to the republican Pantheon. However, this thesis demonstrates as well that some resistance mechanisms remains. The edification of Louise Michel's emblematic figure isn't a linear process but issubject to multiples appropriations that coexist nowadays. Historical figure in collective memories poses a divisive mechanism, characterized by shifting conjunctures that confront forces at the crossroads of different political, activist, academic and intellectual spaces

This chapter examines the church's reception in France. It talks about the church and the media that accompanied France that started to reshape Orthodoxy's public image. It also explains how Orthodox publicists gained some control over the narratives about Orthodoxy and accurate information about the Eastern Church that was widely disseminated in newspaper articles and tour guides. The chapter also assesses discussions of the church that simultaneously blurred and sharpened the distinctions between Orthodoxy and Roman Catholicism and between notions of Russian-ness and French-ness. It also describes the term “Byzantine–Muscovite style” and the adoption of pre-Petrine Russian architectural models for church building that simultaneously emphasized Russia's distinctiveness in relation to western Europe and its belonging “to the great European cultural tradition.”

The article deals with one of the most publicised cases in France during the 2010s. It follows the journey from 2013, when he started his doctorate, to 2020, when the University of Paris 1 Panthéon Sorbonne cancelled his title. We will show how this affair, far from being a success in terms of investigation and academic reaction, is first and foremost the indicator of a profound failure and of a system incapable of reforming itself. For, if it had not been for the continuous action of whistleblowers through a precise and demanding anonymous Twitter account, and vigilant media, it is to be feared that this case would never have reached its conclusion.

This chapter focuses on Auvergne-Rhône-Alpes and Bretagne's trust–transparency nexus in France. France is often regarded as a low-trust society due to the political culture of ‘two Frances’. The dyarchic culture stems from the conflict between the church and the state, the centre and periphery, and Paris and the provinces. Thus, the central authority has been contested since France's post-revolution two centuries ago. Moreover, Paris has an undercurrent of political violence wherein power is often won. One of the paradoxical features of French politics is the role of associations in the delivery of public services as it would be subjected to brutal political shifts. The chapter highlights the overwhelming phenomenon of mistrust in France.

Marguerite of Navarre’s evangelical network never abandoned its strategy of pushing for reform within the existing French church. The Meaux group of the early 1520s, led by Bishop Guillaume Briçonnet and Jacques Lefèvre d’Étaples, sought to “bring the Gospel to the people.” Lefèvre and Gérard Roussel made a crucial decision in 1526 to return to France from exile, instead of joining the international Reformed community. This move paved the way for them to continue down the path of internal reform, an effort that hit its peak in 1533, when Roussel preached to huge crowds in Paris. Hopes were dashed the next year with the royal reaction to the Affair of the Placards, but Roussel continued to encourage evangelical reform during his last years as Bishop of Oloron.

Abstract Thanks to the manuscripts Wansleben collected, from the 1670s onwards France, of all countries north of the Alps, was at a unique advantage for research into the Church of Alexandria. When one of the greatest French orientalists of the late seventeenth and early eighteenth centuries, Euse`be Renaudot, produced by far the most important work on the early history of the Egyptian Church, an invaluable supplement to Wansleben’s study of Coptic practices, he denied any debt to Wansleben’s study, but admitted depending on the manuscripts which Wansleben sent back to France and which he consulted as soon as they arrived in Paris.1

This chapter reflects on how Saint Bernard of Clairvaux was born in the aftermath of the first medieval reformation of the Church and grew up in a world where royal, ducal, and other secular figures had to respect the prerogatives of the Church. His actions in defending what he found to be ecclesiastical interests reflect his attachment to this reformation, even though he by no means was extreme or radical in his view of how Christian society should function. Like other church figures, he took it for granted that there would be a great amount of cooperation between ecclesiastical and secular powers. They could strengthen each other, and only in extraordinary situations was it necessary for churchmen to distance themselves from kings and other lay authorities. In 1129, Bernard joined with other Cistercian abbots, including his father abbot, Stephen Harding, and addressed King Louis VI of France concerning a quarrel between the king and the bishop of Paris, Stephen of Senlis. This is a classic case of the old regime, where king and churchmen supported each other, in the face of a new world where the Church reformed itself and kept secular authority at a distance.

Abstract Anti-Jansenist Purges and Irish Clerics The debate about grace, which divided the Counter-Reformation Church and pitted Jesuits against Jansenists, would have been a mere affaire de cures had the European ancien regime distinguished theology and politics. This was emphatically not the case. In France, the Gallican church was a monument to the interpenetration of the ecclesiastical and the civil domains. The French king had a particular duty to uphold its privileges and protect true religion.2 In the early eighteenth century it mattered a great deal to Louis XIV that his Gallican church was still divided over the grace question, particularly as the politics of grace had penetrated the politics of state. Indeed, by this time the original theological debate had become profoundly politicised and religious language was used to articulate the claims of conflicting authorities, secular as well as ecclesiastical. The theology of grace favoured by the Jesuits was associated with monarchical centralization as well as with papal authority and episcopal hegemony. The Jansenists ‘ theology of grace, on the other hand, attracted the support of more traditionally-minded Gallicans in general, a few episcopal devotees of the Doctor of Hippo, a number of lower clergy Richerists and those institutions of the French ancien regime which traditionally opposed monarchical centralization. The parlement of Paris was foremost among these. The early eighteenth-century focus for the conflict of authorities was the papal bull, Unigenitus. Published by Clement XI in 1713 at Louis XIV ‘s behest, it was part of Louis ‘s strategy of rapprochement with the papacy. As such it was motivated by changing circumstances in international diplomacy and represented a marked change from the Gallicanism of the earlier part of his reign.

Abstract In the depiction of September for the Très riches heures du due de Berry, the château of Saumur towers like a fairy-tale castle over peasants harvesting the vines in the fields below. The castle is still there, restored in the 1930s by using die Très riches heures as a model, but through this image we travel into a very different world. Part of a sumptuous work commissioned by a powerful royal prince at a time when France was virtually at its lowest point of chaos and depression in the late Middle Ages, it is a profoundly ambiguous scene. Apparently all is still and the world is in order and harmony. Yet this was a period which saw a deep structural crisis which swept across French society, accompanied by war and destruction. The period covered by this book saw the last crusades led by a king of France, the destruction of the most serious heresy to face the Western Church in the Middle Ages, the foundation of the University of Paris, the building of the cathedral of Amiens, the music of the ars nova in the age of Guillaume de Machault and of Guillaume Dufay at the court of Burgundy, and the unique if brief public career of Jeanne d’Arc.